As National Novel Writing Month draws to a close, I thought I might have run out of steam by now.
On the contrary, I hit a turning point in my novel on Saturday, a remarkable 25 days into the contest. I now have a new structure that I’m pleased with, and I’m more excited than ever to commit it to paper. The downside is that the new structure incorporates little of the material I’ve already written, so what I have now is effectively a 40,000-word collection of character sketches.
It therefore looks like I’ll be continuing this project during December as I don’t want to let the momentum trail off.
What I actually planned to do in December was to turn a certain public-domain novel into a screenplay; as far as I can tell, nobody has done it before with this book. It’s waited more than one-and-a-third centuries, though, so a few more months of delay won’t make much difference.
Finally, you might remember I made an entry regarding my experience of understanding the Scots and Dundee dialects; it was called Fluent in 1½ Languages. Since then, some brainbox at the University of Abertay has shown that understanding the Dundee dialect is as good as knowing a second language.
On Friday, I attended the premiere of a play written by John Quinn, whom I’ve known for several years.
In O Halflins an Hecklers an Weavers an Weemin, he tells the story of the jute industry in Dundee. The play was staged in the round within Verdant Works, which used to be a functioning jute mill and is now a museum dedicated to the manufacture of the material. I thoroughly enjoyed the evening, particularly the satirical in-jokes that only locals understand.
A large portion of the dialogue is in local dialect; in fact, even the title seems like gibberish to those who aren’t familiar with the vernacular. Helpfully, however, the programme contains a glossary of the terms used in the production. The title translates as ‘The Mother Tongue’:
In everyday life, I speak and understand standard English. I also understood almost every word of the play without looking at the definitions, and I’d be able to decipher the dialect’s parent language: Scots. But to say anything in dialect or Scots, I would have to make a conscious effort to work out my sentences.
That’s why I say I’m fluent in 1½ languages.
There’s a long tradition of English as a written language, with dictionaries and grammar guides going back centuries. Scots, on the other hand, is more of an oral language and there’s no commonly-accepted way to render it on paper. As such, I find it easier to catch what’s being said than if it’s written down.
The problem is most apparent with the sound at the end of the word ‘loch’, which is pronounced like ‘huh’, but said from the back of the throat; a similar sound appears in German. This guttural noise is usually written as ‘ch’, but in English, those letters are pronounced as in the word ‘church’. There are also less obvious issues. The word ‘yes’ can be translated as ‘aye’ or ‘ay’, but depending on the context, the word ‘ae’ might mean ‘always’.
In modern times, there’s been a revival of the Scots language. Perhaps it’s down to the formation of the current Scottish Parliament in 1999; perhaps it’s because Scots speakers can now easily find one another online.
In my experience, there’s a minority of people who use the language merely to show off or to exclude non-speakers. But spoken for the right reasons, it’s full of rich expressions that often have no direct translation.
Around three weeks ago, I was pleased to report that I’ve had a third short story accepted for publication. Strange Musings Press of New York will be printing Amending Diabolical Acronym Misuse, subject to raising enough funds through their Kickstarter page.
There’s still around a week left to raise the $1,100 required for it to go ahead. You can donate at several different levels from $1 to $150, each of which buys you into the project with increasing levels of reward, including electronic and/or paper copies, autographs, and your name in the Contributors’ section.
My story is called Amending Diabolical Acronym Misuse, and it’s about a man who wants to rid the world of badly-constructed acronyms. Although I’m Scottish, my dialect is British English so that’s how most of my stories are written, including this one.
If I’m sending to an American publisher, I often change the grammar and spelling to suit; at least, I have a decent stab at it. In one case, I even wrote the whole story in US English because the character was so strong in my head: a cross between Jason Gideon from Criminal Minds, and Adrian Monk. In Amending…, I took the decision to keep it in my natural dialect as there are a number of references to British places and companies, and I felt it would look odd if I, “translated” it.
A couple of weeks ago, I began reading The Traveller by John Twelve Hawks. The narrative is written with a curious mix of dialects. For instance, the title is spelt with two Ls and there’s a reference to a pub, but the colour gray and an SUV appear in other parts. The SUV would be known as a 4-by-4 in Britain. The story is set in several countries so I expect it’s difficult to settle on one standard spelling, yet it’s not a distraction here, and I’m thoroughly enjoying the story.
Conversely, my mentor Zöe Venditozzi released her debut novel Anywhere’s Better Than Here in 2012. When a US edition hit the shelves, she told me there were no spelling changes made. When you buy a copy, watch out for the character whose initials match mine.
So is it important to adapt your dialect depending on which side of the Atlantic you’ll be published? I expect most Internet users will be accustomed to reading both, but at the same time, people will still write in whichever they feel comes most naturally.
Perhaps one day in the future, the two will merge and we’ll have one way of spelling each word, one form of grammar for all. It would be more practical, but probably rather dull.